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tv   FOX 45 News at 500  FOX  August 19, 2013 5:00pm-5:30pm EDT

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which is really only a short way over there. and you brought along some letters, family archives here. and this relates to the coalport factory. it seems to be a letter of recommendation for the job of art director at coalport's to a mr. j. bott. and bott is-- this is your family? yes, thomas j. bott is our great-great- grandfather. and we've brought along a picture of his son, which he painted in 1888, and also some sketches which he made when he was art director here at coalport, i think. that is, of course, a great name in the local industry. thomas john bott was art director in 1889, so this letter must've got him the job. he then became the art director here at coalport and produced some-- not much painting on porcelain himself, because he was in charge of everybody else's work, and he supervised a whole new direction for the coalport factory. what about the painting? so, who is that? it's his son.
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we've always known him as great-uncle bernie. he's hung on the wall for years and years in the family. he was hidden away in wardrobe for a while and re-found, and he's been on my wall now. well, it's on porcelain, of course. he was a porcelain decorator through and through, and a very competent painter, and here has painted his own family, and done it quite well in enamel. signed t.j. bott. this is thomas john bott, and he was one of a long generation of china decorators, and his father was also thomas bott, which causes great confusion. they came from worcester originally. and at worcester, thomas bott, sr. developed a wonderful new style of porcelain decorating-- what's known as the limoges enamel style-- a very fine use of white enamel on a dark background. and he taught his son t.j. bott to do it as well. and thomas john bott then brought that to coalport. so, thomas john bott here in 1888 at coalport, producing a plaque just for the family.
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we've got a matching picture of his sister, actually, as well. there's a set of them. wonderful to have family likenesses like that. i understand that thomas bott, sr.-- thomas j. bott's father-- died quite young at the age of 41, and i had-- the story goes that he died from licking his paintbrush, which arsenic in it, and that's a family story. i don't know whether it's true. i'm sure it probably was. of course, it was a dangerous industry to be in. and thomas bott, sr. was a great loss to the industry because he was actually a masterful artist and was able to do wonderful work. and that's really what excites me about these pictures. are these thomas, sr.? yes, this is not t.j. oh, we thought it was junior. yeah. this is signed "t.b."-- and that's thomas bott, sr.-- and dated 1860. but these are actually quite special drawings. i recognize the shapes of these little panels as the board of designs for a very special service that was made at worcester for queen victoria.
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and so, these-- i didn't know that. so, these are rather special drawings. these are the original drawings for two of the plates in that service. we've got four of these. there's four in total. there's three more of these. um, sets in the royal family. still, a most amazing set. odd pieces-- occasionally samples and trials were kept back by the factory, and you can see them at worcester. but these are the original drawings for one of the most important worcester porcelain sets. very interesting to know. fantastic. so, thomas bott, sr.'s drawings are special. and hard things to value, i suppose. even sketches like this for a royal service. i suppose they're worth £300 or 400 each. but wonderful things to see, and to see, then, the influence on his son. a pair of plaques like that is £1,000 each maybe. right. right. they'll stay in the family, though. yeah, they're something we'll always keep. a great ceramic family, linking worcester and coalport. wonderful to see.
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thank you. thank you for telling us about them. it's very interesting. thank you. i've been campaigning for my own dressing room for ages on the antiques roadshow, but i asked for a winnebago, and look what i've got! ( laughs ) this is just incredible. it's a sea of chrome, and absolute sea of chrome. do you polish this? yes, i do. you do? by hand, with chrome polish? yes. and one of my ex-wives. and one of your ex-wives? how many ex-wives have you got? mind your own business. ( laughs ) how old is it? it's around 30 to 40 years old. right, okay. and... let's put this into context. who lived in this caravan? who used this caravan? romani people. i suppose a lot of us think about romani caravans as being those quaint horseshoe-shaped caravans that are pulled along by a horse, but this is a real traveler's caravan, isn't it? absolutely. they were used for living in or fortune-telling. and this has spent its life in brighton as a fortune-teller's caravan. who made this caravan? it was made in cumbria...
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by a company called westmoreland star caravans. how did you come to acquire something like this? you don't just come across things like this by accident. no, it was part of a debt. a person owed me some money, and i took the caravan as part of a debt. right, okay. i've got to see how original this caravan is inside. come on in. after you. show me in. i can see already that it's a sea of melamine. there you are. what do you think of that? it's an absolute confection, isn't it? it's unbelievable. it's amazing. i can't say that i'm particularly keen on the style, but how can you not help but admire it? and i don't think anyone would deny that. it's not everyone's cup of tea, but just look at the work in this place. there's not a straight line in here. look at the detail. everything is formica, cross-banded. everything has a curve, everything has a wave. it's just-- i can see why-- cut glass. bowed glass.
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all the glass is bowed. it must be a nightmare to clean. oh, it's a big job. a nightmare to clean. very big job. also, i can see that some of your cross-banding is springing a bit. that's right. there's always something to do with it. there's formica peeling off. you've got to put it back on again. now, there's other things in here. i can see you've got a selection of ceramics and objects. a lifetime's collection. but these are quite-- these really are the kind of things that went in this kind of environment. they're romani objects. though i find i've got a bit of a dilemma, in terms of putting a value on this caravan. i think this has a very niche market appeal. and for that reason, i don't think people would possibly queue up to buy it. having said that, i think i would quite happily park this at the end of my garden and live in it, and i'd be prepared to pay a certain amount of money for it. i think i'd be prepared to pay between £5,000 and £10,000 for it. wonderful. that's how i feel about it. amazing.
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now, as for the contents, i have a feeling that we, uh, need to get someone who knows a little bit more about the things that are in here, and i can't think of anyone better qualified to do that than henry. so, i'm gonna go and get henry for you. well, i've seen some wacky glass in my time, but this really takes the biscuit. what's the story? my father was given that at the tutbury glassworks near burton-on-trent. webb corbett. yes, that's right. okay, and what is it? it's--we believe to be an apprentice's test piece-- that if they could make this, they passed, and were a good glassblower. we call it... we call it a flip-flop. okay, show us why it's called a flip-flop. ( whistles, dings ) wha-- every home should have one, eh? value--oh, you know, what is it's value? you know, its value lies in one thing. yeah! ( whistles, dings ) yes!
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( laughter ) well, you know, it's a 20-quid piece, but, boy, how many of those are there around? we've got three of them. well, i think you've got the only three around. ( laughs ) ( whistles, dings ) mark sent me in to see some of these contents. pleased to meet you. great to see inside a romani caravan. i've been in numbers of them, but they always have things like this. i suppose the more sparkling gold, the better. that's right. part of the fixtures and fittings. they're full of excitement. this is a typical royal worcester plate full of gold, and fruit painted in the center. this is painted by john reed. but this all-over gold is rich and strong. not only, of course, worcester they like, but they also liked tremendously exciting darby. this is a darby piece, full of gold again as well. this is quite an early one. later darby isn't quite so exciting,
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not so hand-painted. this is a very early one, end of the 19th century. and tremendously exciting, isn't it? do you like these things yourself? oh, i love them, yeah. collected them all my life. yes. we used to have so many travelers come to the worcester museum when i was curator there. they all wanted to buy the museum contents. "i've got money," they say. "can i buy that pot?" i say, "i'm afraid you can't." or they wanted more gold put on the piece they got. "the smiths next door have got gold inside this pot. can i have it as well?" and they love their gold, don't they? showmanship, isn't it? presentation. presentation. that's the key thing, isn't it? so, are you thinking about-- worried about the values of these things? no, no, it's just something i've collected over the years, and i just love to them around me. but the better quality ones are going up fast in value. i think, probably, for a darby plate like that--an early one-- you're gonna get 150 quid. right. and for these worcester, 250 or more each.
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so, the prices are going up, as, i suppose, the price of gold goes up. there is money in the bank, isn't it, really? it is, yeah. congratulations on it. i think it's absolutely thrilling. thank you very much for coming. thank you. thank you for having me inside it. i feel you're almost a relative. i've seen you that many times on the antiques roadshow. ( laughs ) well, i'm glad to be a relative. i'm intrigued with this little table, because it's a long time since i saw one which is actually all made of yew wood. it's really very rare. my husband bought it in eccleshall about 30 years ago when we were setting up home. i wonder--i wonder-- did he actually know how rare it is when he bought it? no, he wasn't sure whether it was yew or oak, and nor was the person he bought it from. they were expecting somebody to come along and tell them.
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but he liked the table so much, he said, "well, i'll buy it anyway." ( laughs ) well, jolly-- that's the best reason of all to buy it, of course. well, it is, in fact, a little yew wood gateleg table from the latter part of the 17th, into the first decade of the 18th century. so, 1690, 1720-- that sort of thing. and, as such, it is extremely rare. however, at some time, it has been a, altered, and b, stripped. originally, it wou've had rectangular leaves. it was a rectangular top. you see, the man who could turn and form that frame with such precision would not have cut such an odd-shaped oval. and i see here, under this excellent polish, where a sander has been used to strip it. and it has reduced the thickness to a great degree in places.
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and if we tip here, then you can see particularly the marks of a sander which has taken off the surface. and that is-- that is a bit of a shame. i've never seen that before. um, so... as a really rare little collector's item, a lot of the interest has gone because of the surface being taken away. nevertheless, it is still a little table from that period, and it is yew wood, and there is still a market for it-- probably today in the region of £5,000. oh, my goodness. however, i should tell you that if the surface hadn't been cleaned, it would be £25,000. oh! ( laughs ) anyway, thank you. it was a treasure to see.
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well, thank you very much. not at all. you've brought along a handkerchief, and i've got a bit of a cold, so i'm quite tempted to blow my nose on it. but i think i'd better not. tell me about it. it's a beautiful thing. it belonged to my mother. i remember seeing it as a child. we just used to look at it. we used to turn things out, boxes of buttons and old postcards and that-- which, unfortunately, we cut up to put in scrapbooks. what's interesting about this-- it's got all these-- rather like the wartime posters. all these exhortations not to talk carelessly, in case german ears might hear. here's hitler under the table. yeah. "of course, there's no harm in your knowing." there they are, talking over the table. you never know who might be listening. you can see a swastika there. fantastic, aren't they? "strictly between you & me." there they are. and there's hitler again, listening. when you were a child, did you realize that was hitler there in the background, listening to all these things? i don't think we did realize the significance of it at the time. "don't forget that walls have ears."
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yes, of course. that's such a well-known phrase now, isn't it? and the wallpaper's hitler in the background, as they're having a little gossip over their tea and cakes. we've talked to paul atterbury about this, and he says that obviously it's reminiscent of the wartime posters, and done in the style of the artist fougasse. it feels like silk. it's made from rayon, actually. but it's just beautiful. worth about £100, he thinks. oh, fine, yeah. what do you think about that? yeah, i don't want to part with it. it's a lovely, lovely thing, isn't it? yeah. so, has this lady been a long-standing member of your family? the lady has been a long-standing member of our family. it's been in my family for about 100 years, and comes from coventry. from coventry? all right. well, when you think of women from coventry, you tend to think of them sort of naked on a horse, don't you, i suppose? well, you could do, yes. or maybe i've just got a problem. i don't know. ( laughs ) not quite sure. but, um, in all fairness, your lady is-- she's a character, isn't she?
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well, some people call her the gin lady. the gin lady? okay. i think arm wrestling is more her forte than anything else. well, she does have a name you know. does she? oh, yes. you've just called her the gin lady. she's been anonymous all these years. do you want to know her name? yes, please. she does have one, 'cause you're looking at sal. sal? sal. um, and there is an adjective before that, and it's not a very happy one, 'cause she's actually called drunken sal. so, i think you're right with the gin. the first feature i'm looking at is the hat-- this wide-brimmed hat. because she's still got the original cover. and so often these go missing with toby jugs. and let's have a look at her gob. we won't linger too long on the facial detail, bless her. it's very well modeled, i think. spirited would be a word. and what i like also is this base, because it's got this lovely sponge decoration.
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so, this is-- for my money-- a very fine toby jug. let me just take that out, because we've got to look at the maker. and it's very rare that you find a maker's name on a toby jug. yes, 'cause i haven't been able to work out the maker. oh, well, there you go, you see? if you look there, there's a mark. a lot of factories used anchors. chelsea used an anchor, middlesbrough used an anchor. but this is davenport. and davenport was a maker in stoke-on-trent in the potteries, and a very good maker as well. it actually dates to about 1845 or thereabouts. and i can tell you now that if you wanted to go out and find another, you'd struggle. how much money would you be prepared to spend? we've always said she's only worth about £50, but i think probably about £150. i think £150 is going to be a little bit on the conservative side, because i've only ever come across two of these
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ever being sold in the last 15 years. one of them made £1,200, and the other one made £1,400. she may be a cheap floozy, but she's still an expensive woman. right. ( laughs ) well, look at these little cheeky chappies. absolutely adorable little mice earrings. they actually belong to my mum. she's had them for quite a few years, and she wears them a lot. she does? because, i mean, they could even be a little bit larger than mice. don't you think? and with the way that the hoop fits behind the ear, it's just making a rather long tail, and those rather long tails do come on little bigger rats, don't they? ( laughs ) yeah. i've always called them mice since i was little. oh, well, i think we'd better stick with mice, then, don't you? it sounds a lot nicer, doesn't it? the victorians absolutely adored all sorts of insects and animals, and the weirder the better for jewelry.
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and it was just such an exciting period of jewelry design. and here we've got these two little mice made of gold, and they've even textured the actual bodies of them so that you can feel as though it is the actual fur that you're touching when you pick them up. they're absolutely amazing. they date from probably about 1870, 1880. they're absolutely adorable, and it's just great that your mum wears them. but, then, on the other side, we've got this necklace here, which is beautiful pinky red stones in a gold mount with lovely delicate drops on it. and, again, does this belong to your mom? this belongs to me now. my mum was given it as a 21st present by her parents, and then recently she gave it to me as a 21st present as well. that's lovely. it's really great when jewelry is handed down from mother to daughter. the stones are garnets, and it dates from about 1800. normally, necklaces like this might've come with some earrings and even a bracelet.
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so, are there any earrings or bracelets to go with it? yes, we have earrings at home. fantastic. and do you wear those as well? yes. brilliant. and the necklace-- do you wear it a lot, or is it something that just sits in its box? i have worn it. i wore it for my 21st, actually, when i got it a couple of months ago. so, i have worn it, yeah. and you really enjoy wearing it. i do, it's lovely. brilliant. well, that's great. well, here we've got the little mice-- really quirky, and quirky jewelry sells exceptionally well, so i think if these came up at auction, you might get somewhere between £600 and 800 for them, especially as they've got the little fitted box as well. that always adds to the value of a piece. and then the necklace, together with the earrings, i can easily see fetching somewhere between £2,500 to 3,500 if it were sold at auction. wow. i'll look after it. ( laughs ) fantastic. it's lovely, thank you. well, continue to wear it. what it is is a rectangular frame. it is a silver frame, but in the center you have this plaque, and it is engraved very beautifully
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with the design of a ship, a cruiser. and then it has above it an inscription in russian. and then, on the back, on the frame, there's another inscription here, and i don't, unfortunately, read russian. so, the next question is, have you had it translated? yes, i have-- just recently. thank goodness for that. ( laughter ) by a young russian student at wrekin college. can i? may i? okay. front-- "cruiser of the first rank, ririk--rurik?" so, that would be the name of the ship itself. we think so, yes. "with displacement of 15,200 tons and 19,700 horsepower." how romantic. ( laughs ) "established in the city of barrow-in-furness "of factory vickers and company,
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august 22, 1905." and then the back. "minister of navy ministry "general f.k. advelal, "chairman of navy technology committee, "f.e. dubersoff, counter-admiral, "a.r. rodionoff, ship-building guard, ship engineer, l.a. tennyson." i'm glad we got the tennyson in at the end there. i'll give that back to you now, thank you. so, it's a russian frame, and here we are dated 1905. and it's very simple and quite austere in its way. so, how on earth did this come into your possession? my husband's great-grandfather was arthur dorson, who must've been, we think, possibly mr. vickers. certainly very important in vickers. and it was presented to him. and after that, the family just put it in a box. forgotten. yeah.
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so, when was it resurrected? about a year ago, i found it amongst my husband's possessions and decided to clean it up. oh. was it dirty, then? yes, it was absolutely black. it just looked like a blue frame, and the silver was all black. was all black. so, very unprepossessing indeed. you can just see, underneath the blue, is this wavy lines. yes. so, it's translucent royal blue in this vivid sapphire blue color, and then it has been coating onto this guilloche, which is the engraved wavy background underneath the blue. and the way they used to do that was to build it up layer by layer by layer, given this its extraordinarily thick, glossy patina. you've got this engraved silver frame, you've got the ship in the center, of course. when you turn it over, you've got this wooden frame.
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and i'm sorry about that loss. one of those things. and you see that there are some squiggly little marks there in the corner. now, that is a group of marks-- and, in fact, that's the number 91. that means it's very high-grade silver indeed, almost better than sterling silver, the very top grade of silver. this is a quality piece. the next mark i want to point out-- come look at this here. the mark is the monogram of someone called nevalainen, who was a finn who was working at around about 1895, 1900, 1905, probably in moscow at that time. and it was a special commission, obviously. but there's another factor about this that perhaps i need to convey to you. this is the moscow mark at the top here, and the most important crucial and critical of the whole lot-- faberge in the middle. so, this isn't just a frame that's been made for someone important at that time.
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this is a faberge frame that's been made for someone. ( laughs ) and it's worth, let's say, £10,000 to 15,000. ( laughs ) gosh! ( laughter ) well, it's not mine. it's my husband's. he ought to be pleased. yes, i think i am, too. you've brought in a nevalainen faberge turn-of-the-century silver frame of pure pedigree and dynasty. what a find. well, thank you very much. that's brilliant. the pleasure is all mine, madam. thank you. we've had a great day here, rediscovering the past at blists hill victorian town. now it's time to get back to the present and say good-bye from another antiques roadshow. ♪
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>> this is "bbc world news america." funding of this presentation is made possible by the freeman foundation of new york, stowe, vermont, and honolulu, newman's own foundation, giving all profits to charity and pursuing the common good for over 30 years, and union bank.
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>> at union bank, our relationship managers use their -- work hard to understand the industry operate in, working to nurture new ventures and provide capital for key strategic decisions. offer expertise and tailored solutions in a wide range of industries. what can we do for you? what can we do for you? >> and now, "bbc world news." >> we are reporting from washington. i and katty kay. 24 policemen in egypt are killed in an ambush from suspected islamist militants as violence escalates on both sides. a juror in the edward snowden case fast to increase his
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efforts after his partner was to obtained under british anti- terror laws. prince william gives his first interview since becoming a father, giving a hint of what little george is really like. >> he is a bit of a rascal. we will put it that way. he reminds me of my brother or me when we were younger. i am not sure which. >> welcome to our viewers on public television in america, and also around the globe. 24 policemen in egypt were ambushed and killed by suspected islamist militants today. 36 islamist militants died in police captivity. this violence shows little sign of ending. numeral reports that former president hosni mubarak could the released in a matter of weeks. not likely to make the situation there any calmer. jeremy bowen send this report.
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>> the dead policemen were thrown back to cairo's military airport. the government believes that al qaeda style jihadist killed the men. egypt's official media has not tried to connect the killings with the violent crackdown on the muslim brotherhood, but they add to the sense of profound crisis. screen --n on the egypt fighting terrorism. in english on an arabic language channel. that is the message the government wants to get out to western allies. the advisor to the interim president compared the muslim brotherhood's organization to nazis and fascists in 20th- century europe, and said proportionate force was being used against it. a peacefuliddle of assembly were people with machine guns, were people firing on our police forces. in any westernd capital, i would expect that you cannot just define --

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